Muscles 101: Comparing muscles to a rubber band might be stretching it….

Teachers often use the image of a rubber band to describe muscles.  When you stretch a rubber band, it usually returns to its normal size; if you continuously pull it beyond the maximum that it can be stretched, the rubber band stays stretched out.  Using this metaphor, if you continuously stretch your muscles beyond their maximum range of motion (ROM), eventually they will stay stretched out…..

Sort of.

Muscles have two main jobs: generating power and responding to “perturbations”.

The rubber band/muscle metaphor is great in describing the body’s response to perturbations (such as the bus moving forward when you’re not ready for it, someone handing you something that you think is heavy but is actually light, being bumped into, etc).  In these instances, a reaction called the stretch reflex recoils muscles that have been stretched as a result of a perturbation.  In the example of standing on a bus that moves when you’re not expecting it, you’ll notice that you lean forward and then right yourself.  If the muscle is stretched too far, the muscle can’t recoil and instead you are forced to take a step forward to prevent from falling.

Try this: Stand up with your feet under your hips and eyes closed.  You’ll notice that you sway forward and back slightly.  In order to help you maintain balance, your brain triggers muscle action in the calf and ankle when you start to pitch forward, righting your stance .  This is the stretch reflex in action (in combination with structures in the inner ear that control balance).

While the image of a rubber band is useful in demonstrating the elastic nature of muscles in the stretch reflex, it’s not always as simple as the stretch/recoil and stretch-farther/less-recoil that we gain from thinking of muscles simply as rubber bands.

I’ll explain, but first, a brief anatomy and physiology lesson:

How do muscles work?

A muscle is built of bundles of lots and lots and lots of muscle fibers bundled together by a sheath called the sarcolemma.  One muscle fiber contains lots and lots and lots of myofibrils, and one myofibril contains two types of myofilaments (thick and thin). This is where the magic happens.

The brain sends a signal (a neural impulse called an action potential) to the muscle that says “Hey muscle! Contract!”  Through a complex series of chemical reactions, proteins on the thick and thin filaments bond to one another and create energy in a chemical form.  The chemical energy is converted into a mechanical (tensile) force that generates power to move bone.   Every time you point, jump, bend, etc. your body goes through the same brain-muscle-bone loop called Excitation-Contraction Coupling (in case you want to look it up on Wikipedia) and it all happens faster than you can snap your fingers.

Wow. That’s amazing. And not at all like a rubber band.

Apart from this complex process, there are a number of variables that impact muscle behavior, such as temperature.  Warming-up increases the body’s core temperature and also helps breaks any leftover bonds (what I refer to as “crunchiness”) that might be hanging around.  As mentioned in my previous post, Is It Okay To Stretch Before Class?, stretching before activity has a short-lasting (acute) effect on range of motion, but the effect of stretching is maximized if you are warmed-up. Warming up also increases the amount of power a muscle can produce, making movements more efficient.

Think about this: What would it feel like to do grand allegro first in a ballet class? I don’t care to find out, but you can imagine that your ability to produce power, and therefore height, in your jumps is much better at the end of class when your muscles are warm.  Muscles also react differently when they are sore, strained or fatigued and all of these topics are complicated enough to deserve their own posts, so I won’t delve into them here…

More than anything else, I want to emphasize that rubber bands don’t have brains. The key point in all of this is that you have a brain, and that your brain drives everything that happens in your muscles.  It senses unexpected events and recoils muscles back into place.  It sends neurological impulses to muscles, causing a series of chemical reactions, producing energy that is converted into force that makes you move.  I said it once, and I’ll say it again:

That is amazing.

Reference: Enoka, R. M. Neuromechanics of Human Movement, 3rd. edition

Is It Okay To Stretch Before Class?

Is stretching part of your ritual?

While I was a dance major, I had a very strict routine that consisted of getting up at 6:00am, making coffee in my leotard, driving to school by 7:30am (to grab my super secret parking space in downtown Chicago), and entering the studio for morning ballet class before anyone else had arrived. The sun would peak through the windows creating a beautiful, peaceful place for me to be alone without the distraction of other dancers, teachers or fluorescent lights. Five days out the week I followed this routine, and without fail the first thing I would do is lay down on the ground, stick my feet over my head and stretch.

I never gave much thought at that time as to whether or not stretching before class was beneficial. It is just something we dancers do. We arrive early (never on time) and stretch.  Many ballet teachers give a warm-up or stretching exercises to the class before even beginning the barre. I remember being told as a young dancer “you must be fully warm before you ever do your first plie.” You feel that morning crunchiness in your joints, the little tug in your hamstrings, and just “stretch it out.”

To stretch or not to stretch?

The idea of stretching before physical activity is not unique to dance.  I recall those days of P.E. where we would all stand and stretch together before going to play whatever sport was featured that day. In fact, studies performed as recently as 1989 have declared stretching to be “essential” in preventing injury and enhancing performance by increasing the elasticity and range of motion (ROM) of the muscle (1). It is by this presumption that we came to believe that you must stretch before completing any sort of vigorous physical activity, and this opinion is still held by a great many P.E. and dance teachers, not to mention personal trainers, physical therapists, sports physicians and athletic coaches (2).

More recent research has questioned the commonly held belief that stretching before activity is beneficial to performance and prevents injury. In fact, there is some evidence to suggest that stretching can have detrimental effects on performance, and may even INCREASE the risk of injury…

But aren’t there different ways to stretch?

There are five major types of stretching: static, dynamic, proprioceptive neuromuscular facilitation, ballistic stretching, and eccentric lengthening.  For the purpose of this article, we can work with the two most common forms of stretching (static and dynamic). You may see both types in your dance classes or do them on your own. The other types of stretching are usually employed in a therapeutic setting with the help of a clinician. Here’s a summary of the difference between the two types:

STATIC STRETCHING

Now, let’s assume that you aren’t lucky enough to be one of those hyper-flexible Gumbi-type dancers that can walk into a studio cold and plop down into the splits. That is a whole other issue that carries its own set of benefits and challenges. Instead, you are a dancer of average flexibility. You have no problem extending to 90-degrees, and once you are warm you can easily accomplish the splits and higher extensions. However, when you first enter the studio, you feel that pinch and that crunch. In the traditional thinking, you are like me: the dancer who comes in early to sit on the floor in a straddle, or plow, or forward bend until the pinch slowly begins to ease and feel less pinch-y. This type of stretch is called static—where you choose a position at the end of your ROM (range of motion) that targets a particular muscle, and hold it.

DYNAMIC STRETCHING

Dynamic stretching is a series of or active motions that increase joint ROM and stretch the muscles more passively than static stretches. Examples include leg swings (or balancoire), grand battement, and arm swings.  Some people believe that this is a more natural way to stretch and increase your range of motion, and it simultaneously warms the body. Dynamic stretching is rather trendy right now because it somehow fulfills our moral obligation to stretch and isn’t uncomfortable like static stretching.

So, can I stretch before class, or can’t I?

That depends on the goal…

If you are stretching with the goal of long-term changes in your flexibility (for example, you can’t do the splits and would like to), save your stretching routine for after class or between barre and center when your muscles are “warm.” See more about this in Nichelle’s post about Stretching Safely For Splits.

Generally speaking, both of the stretching techniques above have acute (short-lasting) effects on your range of motion before activity, but don’t really increase your overall flexibility.

If you are stretching to chase away the “crunchiness,” there isn’t really any reason to believe that stretching before class can hurt you, but then again, it doesn’t necessarily help you either. Stretching doesn’t inevitably mean that you will not be sore or will be less sore (3).  Some researches have found that pre-stretching might result in a small decrease in muscular strength and power, and this may be of importance to elite dancers requiring exceptional strength and endurance, but there is no current evidence suggesting that stretching while cold leads to injury (3,4).

Image by stevendepolo via Flickr

Bottom line:

Ultimately, if stretching feels good, then stretch. If it’s part of your morning routine or class-time ritual, then do it. Just take care…

• Stretching should never hurt.
• Don’t reach past your natural range of motion unless your body is completely warm.
• If you find that static stretching is very uncomfortable for you, try some dynamic stretches.

Your body is a complex series of chemical and mechanical processes, and while we imagine that muscles are as simple as stretching a rubber band, there is a lot going on in there that is still not fully understood by scientists. But for more on muscles, you’ll have to wait!

Next month: How do muscles work?

References:

1. Safran, M.R., A.V. Seaber, and W.E. Garrett, Jr., Warm-up and muscular injury prevention. An update. Sports Med, 1989. 8(4): p. 239-49.
2. 

   More Art Intercepts...

   Shehab, R., et al., Pre-exercise stretching and sports related injuries: knowledge, attitudes and practices. Clin J Sport Med, 2006. 16(3): p. 228-31.

3. Herbert, R.D. and M. Gabriel, Effects of stretching before and after exercising on muscle soreness and risk of injury: systematic review. Bmj, 2002. 325(7362): p. 468.
4. Thacker, S.B., et al., The impact of stretching on sports injury risk: a systematic review of the literature. Med Sci Sports Exerc, 2004. 36(3): p. 371-8.

My Dance Homework: Arm Series

Particularly over the summer it is nice to have a few simple exercises that are easy to remember. This particular series builds arm endurance and strength, and is good for a little light toning. It’s also versatile, allowing you to make additions, increase repetitions, or add hand weights when it becomes too easy. Make it a point to do it once daily and I think by the time you get back to a full schedule in the fall, you’ll see a difference in your ability to carry and maintain those arms throughout long barre exercises.

Interview With Roslyn Bazzelle, Creator Of PIYOLET

While researching for an article I wrote on The Yoga Dance Connection for Bella Online’s Yoga Site, I came across several fitness programs and DVDs that fused dance with other body practices. PIYOLET in particular caught my eye because… well, it has an interesting name and because the creator of the program lives in Houston. Many of you know that I, too call Houston home so I couldn’t resist digging for a little more information!

What’s in a name?

PI – for Pilates. YO – for Yoga. LET as in Ballet. PIYOLET is a low impact fitness regimen for all ages, designed to diversify and keep the mind, body and soul refreshed and fit.

Creator Roslyn Bazzelle has been dancing since she was a young child. She continued her studies at Hampton University while getting her bachelor’s degree and then went on to study law here in Texas. She is a certified group fitness instructor with training and certifications in Yoga and Pilates. In addition to producing and directing her own fitness DVDs for the PIYOLET program she’s developed, Roz is a singer, songwriter, and a practicing attorney in the areas of real estate, corporate, and entertainment law. Believe it or not, she had a moment free to talk to Dance Advantage about dance, fitness, and source of her tireless motivation.

Dance Advantage: You are a busy lady! Why has it been important to you (or what drives you) to pursue growth and development in so many different areas?

Roslyn Bazzelle: To someone else, they appear to be completely different and so far apart, but, for me ….. they are all connected and allow me to serve my purpose on this earth. Growing up I was always involved in different activities. My mother figured if she kept me busy, she would keep me out of trouble (smiles). Piano for 11 years. Dance for 13 years. Choir in church and school, for as long as I can remember. All while maintaining good grades. Mom was a teacher so I had to represent well in school! Initially, I had a one-track mind – law – once I got out of law school in 1999 but, after practicing a few years, I found that I needed to be more and do more to live the life God planned for me. As a lawyer, I assist businesses and individuals with their legal needs. As a fitness instructor, I help individuals create a stronger and healthier body. As a singer I hope to motivate others to get through whatever situation or issue they are dealing through the joy of song, and I just fell into the production side of the fitness business through my creation and development of PIYOLET.

DA: Tell us a bit about your experience with dance growing up and what discoveries you made in your transition to college with the study of modern dance.

RB: Dance was a wonderful and amazing outlet for me to grow and learn. It was not just about the routines and choreography. It was the people, the students, the environment, the recitals, the teachers, the discipline — the experience over-all was such a huge part of my life growing up. I wouldn’t change a thing! I have to applaud my mom for selecting dance studios with directors and instructors who were kind, beautiful (inside & out) and who cared about ALL of the students. Transitioning to Modern was a little hard at first due to the structure I was used to, but, I found it invigorating and it really opened my eyes to the freedom you can have as a dancer.

DA: Why are Yoga and Pilates worthy, and perhaps essential, companions for dance technique?

RB: Yoga and Pilates, in my opinion, are absolutely essential in advancing a dancers technique and skills. The basic elements of Yoga allow you to grow mentally, spiritually, and the benefits to your body are phenomenal! Pilates is simply one of the quickest and easiest methods to strengthen your core which helps you with everything you do, whether you are sitting, walking or dancing, Pilates can take your body to the next level.

DA: Your DVD is for all ages, but what about skill level? Would even experienced dancers feel challenged by your DVD?

RB: The Original PIYOLET DVD was created for intermediate to advanced level dancers and fitness enthusiasts who were currently taking my Pilates and Yoga classes. I have received comments from personal trainers, dancers and fitness professionals who enjoy my workout and were absolutely challenged. After receiving many inquiries from those who had zero experience or training in Yoga, Pilates or Ballet, I decided to film the Intro to PIYOLET DVD a beginner level workout which is now available for purchase. The third addition to the PIYOLET DVD series is Body by PIYOLET which is the second level to the original PIYOLET DVD, and allows those who are experienced with PIYOLET to enhance their skills.

DA: How is PIYOLET different from other fitness fusion programs?

RB: PIYOLET is different because, it combines Pilates, Yoga & Ballet in a unique way which does not require a leotard, fancy footwear, a barre or any specific equipment. PIYOLET was created to allow people to experience and learn sequences and poses based on a combination of all three formats and gain the benefits, which include, core strength, improved posture & balance, flexibility, lean muscles and mind, body & spirit integration.

PIYOLET Giveaway!

THREE Dance Advantage readers will win a PIYOLET workout DVD. Winners may choose one of the following to add to their workout library: Intro to PIYOLET (beginner level), Original PIYOLET (intermediate), or Body by PIYOLET (advanced).

This giveaway is now closed! Winners announced soon!

How to enter

If you are in the U.S. and 18 or older, place a comment on this post. That’s it! The three winners will be randomly selected via random.org. Please make sure you use an email address at which I can contact you should you be a winner. The giveaway will close to new entrants at Midnight on Sunday, March 28. The winners will be drawn and will have 48 hours to respond and claim their prize. If you have questions, check our giveaway policy.

Wasn’t that easy?

You can follow Roslyn on Twitter or become a fan of PIYOLET on Facebook. Doing so will not affect your entry in the contest, however, let’s thank her for offering DA readers a chance to win!

Organic Relief: Relax Pack Review & Giveaway

A while back my friend Tammy over at Inside Ballet Technique encouraged me to check out a company called Relax Pack. Relax Pack is a “Woman Owned Small Business in Scottsdale, Arizona” that produces organic herbal therapy packs. The owner, Tiffany Buntin, suffers symptoms of chronic pain and fatigue and is diagnosed with Fibromyalgia and Chronic Fatigue Syndrome. The challenges she faces have inspired the creation of her own line of herbal therapy packs which are completely organic. I encourage you to read more of Tiffany’s story at the Relax Pack website.

Dancer Therapy

Many dancers utilize hot and cold therapy packs to relieve sore muscles and injury pain, not to mention dancers and teachers who suffer from chronic conditions. So, on Tammy’s recommendation, I did a bit of investigation and discovered two more great reasons to share Relax Pack with you.

1. Support of Small Business and Female Entrepreneurs — I like sharing products by folks who originate and believe in their own products. Tiffany developed Relax Packs to fill a need, she offers personal attention and has created a community of support for others like herself.
2. Organic Options — I appreciate Earth’s ability to provide what is often the best solution for its inhabitants. It just makes sense to me to reduce use of chemicals (particularly in products that come in contact with our skin) whenever possible. Each family and individual does what they can, but I believe in supporting companies’ “green” efforts whenever possible. Relax Pack, in addition to producing an organic product, makes an annual contribution to CarbonFund.org to help offset the company’s emissions.

So, encouraged by my initial investigation, I approached Tiffany about a possible review of her product on Dance Advantage. She generously offered several products for review and, in addition, has agreed to give away some Relax Packs to readers.

Three Packs, Four Formulas

Relax Pack produces three different packs, including a Neck Wrap, Body Pack, and Eye Pillow. Each of these are manufactured in four formulas: Pain Relief, Relax & Soothe, Revive & Awaken, and All Natural Unscented. I sampled all three of the packs and the three aromatic formulas.

For complete details on the ingredients of each pack and formula, please see the Relax Pack website.

My impressions

Construction – The stitching on each pack is consistent and seems quite durable. It appears to me that one would have to abuse these packs to destroy them, and each is packaged with clear and simple instructions for how to heat and cool the packs. The organic cotton feels soft, yet sturdy and is color-coded in fresh, solid colors according to the ingredient formula inside.
Revive and Awaken – I received a Neck Wrap in this formula. The design rests easily on my shoulders and I’ve quickly popped it in the microwave for heating on those early mornings when I manage to rise before my little one to get some work done. The aroma really does have an invigorating yet calming affect, and helps me focus my foggy morning brain for writing.

Pain Relief – The peppermint, spearmint, lavender, ginger, and eucalyptus in this formula is a really pleasing combination. I’ve used heat therapy “beanbags” that cool way too quickly. I tried the heated Body Pack for some soreness after dancing and was pleased to find that the flax seed inside the Relax Pack held the heat for a long time.

Relax and Soothe – I received this formula in both the Body Pack and Eye Pillow. For someone who stares at a computer screen a lot, the Eye Pillow is welcome relief. It is recommended for cold therapy and can be kept between uses inside a resealable plastic bag or container in the freezer. Again, it keeps its cool. This formula contains linden leaf and flower which, according to the handy cards packaged with the order, is said to ease painful cramps. I used the Body Pack on a day that I experienced cramping (of the female variety) and the heated pack did offer relief. The fragrant ingredients are a pleasant and comforting feature.

Cost – Organic does not always mean more expensive. I was pleased to discover that Tiffany’s Relax Packs are comparable (and sometimes less expensive) than other heat and cold therapy packs available even at WalMart and other big stores. They would make a great gift for yourself, for a teacher, or anyone else you know with aches, pains, or stress.

The bottom line: I cannot offer any negatives. I am very pleased with the packs and continue to use them regularly.

The Giveaway

This giveaway is now closed!

Tiffany is offering prizes to three winners on the blog. To enter the contest, all you need to do is comment on this post using the “Speak Your Mind” comment form below this article. Be sure to include the email address at which I can contact you, should you be a winner.

In your comment, tell us which formula you would most like to try (detailed descriptions can be found at Relax Pack) and why.

If you are a Dance Advantage email newsletter subscriber, be sure to write “I’m a subscriber!” in your comment and use the same email address with which you subscribe to the newsletter (they need to match, this is how I verify that you are a subscriber). For this contest, email subscribers (sorry no RSS feed subscribers this time) will receive an extra entry. If you are not already a subscriber, you can sign up before the close of the contest, enter with your comment, and still receive the extra entry.

Winners will be drawn from all entries using random.org. This contest is open only to those in the continental United States, Alaska, Hawaii, and Guam. My apologies to those in other locations.

The grand prize, offered to the 1st winner drawn will receive:
- 1 neck wrap
- 1 body pack
- 1 eye pillow (in any combination of formula)

Winner #2 will receive:
- 1 neck wrap (in any formula)

Winner #3 will receive
- 1 eye pillow (in any formula)

Entry comments will be accepted from now until midnight (EST) on Friday, March 19. At that point the contest will close, the drawing will be conducted, and the winners will be contacted via email. Winners will have 48 hours to respond or I will have to move on to the next name drawn. When all winners have been contacted and confirmed, I will update this post with the announcement. Further information can be found in the giveaway policy.

Update!

The awesome thing about reviewing products is that sometimes I find items that I like or use so much that I want to endorse them beyond the review. Occasionally I’m also able to earn a little something in return for my efforts. And so I’m pleased to let you know that now if you navigate to RelaxPack from Dance Advantage, any purchases you make will help support my efforts to keep free content flowing on this blog!

Nutrition for Dancers

Whether the goal is losing or maintaining a healthy weight, dancers are concerned about their silhouette and their nutrition.

A reader asks:

“I eat very well, everything’s healthy and not much candies, but I want to know your opinion. What is proper for a dancer? Any diet and nutrition that will help me both lose kilos or maintain my silhouette? I don’t mean an exhaustive diet, I just mean what to eat or not etc..

Losing Weight

If you take several dance classes per week and find you are still struggling to maintain an appropriate, healthy weight for your height and age, it is important to talk with your doctor or other health professional before taking steps to lose weight (see the Food and Nutrition Information Center for more on weight management).

While some swear that there are secrets to how or when you eat, in the end it still all comes down to mathematics. To lose, what you put in has to be less than what you burn. And to maintain, requires balanced nutrition. In either circumstance, an intake of quality nutrients is important, as is keeping an eye on portion size. Different methods of change (I’m avoiding the word diet because to me this word does not imply lasting lifestyle change) work for different people – some find it best to completely avoid certain foods. Others prefer to replace the ingredients of foods they love with healthier alternatives. Sometimes a bit of trial and error is necessary to determine what works best for each individual. Also, don’t forget the mind and emotions can often play a big role in supporting or sabotaging one’s healthy intentions.

Simple Start

Often we don’t realize how much salt and sugar is in our food but cutting down can yield lasting results for health and weight-loss. For many this is a good place to start. (this article from Harvard School of Public Health covers the war on sugary drinks and processed foods)

More tips for cutting down on sugar [link]… and on salt [pdf].

Cross-training for strength and endurance is also a good idea for any dancer. In particular, dancers who aren’t training heavily, keeping the heart rate up or working up a sweat for 20-minutes or longer during class or rehearsal multiple times per week, may need to add cross-training activities to their schedule.

Some nutrition and health sites I like:

• TrainerDiva – Elena is a dancer and personal trainer
• NutraBeautiful – Nancy offers articles on health, nutrition, beauty and dance
• Ballet Strength – Nikol is a ballet dancer and personal trainer
• Wellsphere – a fountain of health information from bloggers and contributors… find anything!

Balanced Nutrition

The guidelines for creating a healthy balance of nutrition are constantly under scrutiny by the medical field and new discoveries about the body may reveal new methods, suggestions, or recommendations. It can get pretty confusing. It is well-recognized that humans would do well to lower their intake of “bad” fats (saturated fats mainly found in animal products and trans fats in pre-packaged foods) and increase, or exchange some of these for “good” fats like those that come from nuts, avocados, and fish. But even this can get confusing.

Some simple guidelines:

• In our pre-packaged fast-food world remember that fresh is always best!
• Enjoy many different kinds of foods!
• Cook more, eat out less!

What the Experts Say…

Admittedly, I struggle as much as any dancer to strike that perfect balance and to stay on top of the latest health information. I have no formal expertise on the subject of nutrition. Therefore, I rely on what the experts say. For dancers, a great resource is the International Association for Dance Medicine & Science. They are the publishers of the Journal of Dance Medicine & Science and the associations members and directors are among the top in this field.

Here are a few excerpts from their Nutrition Fact Sheet:

• The first step in planning a high performance diet* is to be sure that the dancer is obtaining adequate caloric intake. The easiest rough estimate of how many calories a dancer requires during heavy training is 45-50 calories per kilogram of body weight for females and 50-55 calories per kilogram of body weight for males. For a more accurate assessment, dancers should consult a dietitian.
  • The kilogram to pound conversion is 1kg = 2.2lbs. For example: 115lbs = 52.27kg. 50 calories per kilo for a 115lb female equals about 2600 calories for a dancer that is training heavily.
• A dancer’s diet should be composed of about 55-60% carbohydrate, 12-15% protein, and 20-30% fat. During heavy training and rehearsals the amount of carbohydrate should be increased to about 65%. The reason is that carbohydrate is the major energy source in muscles.
• In addition to meals, other times when carbohydrate ingestion is important are before, during, and after class, rehearsal, or performance. About 1-2 hours prior to these activities, a small carbohydrate snack should be consumed. This will increase glucose levels in the circulation and “top-off” muscle glycogen stores. A carbohydrate snack, such as a bagel or commercially available “energy” bars, can provide the added boost needed for optimal performance.
• The estimated grams of fat in the diet are about 1.2 gm per kilogram of body weight. Because ingestion of high amounts of saturated fats is associated with chronic disease, the recommended amount of saturated fat in the diet should be less than 10%.
• For non-vegetarians, chicken or turkey without the skin are excellent low fat protein sources. For vegetarians, tofu, seitan (wheat gluten), and mixtures of beans and rice are good protein choices. Protein powders are not necessary, even for male dancers, if they are following the recommendations above. If a protein supplement is warranted, the best choice is milk powder. The high tech and expensive protein supplements on the market are not any better than simple dry milk.
• To obtain all important micronutrients, dancers should increase the amount of fresh fruit and vegetables (recommended 5 servings of fruit or vegetables per day), whole grains, dairy products, and lean red meat. Because not all vitamins or minerals occur in all foods, dancers should ingest a wide variety of foods.
• Fluid loss results in dehydration that can impair performance and mental functioning, such as the ability to quickly pick up complicated choreographic combinations and execute them effectively. A cup (8 ounces or 250 ml) of fluid every 15 minutes is recommended. Whenever there is a break in class or rehearsal, the dancer should have ready access to fluid, and they should be encouraged to drink because the thirst mechanism does not keep up with the body’s need for fluid. A water bottle or sport drink should be part of a dancer’s “gear,” and, if possible, the dancer should be able to bring the bottle into the studio for frequent drinks. Following class and rehearsal, dancers should continue to increase fluid consumption for the next few hours. Avoid carbonated drinks and large quantities of fruit juice.

*A high performance diet is for dancers that are training or performing at a high level. These recommendations reflect that. For those dancing less, it is important to adjust accordingly. It is a good idea to consult a dietitian for individualized assessment of your dietary needs.

Read the full article…

IADMS offers a number of Teacher Resources, including a Bulletin. You can signup at no cost to receive notification when new bulletins are published.

Additonal reading:

• Replacing Fat Foods (1998) — A handy replace this with this article from Dance Magazine
• The Dancer’s Way: The New York City Ballet Guide to Mind, Body, and Nutrition
• Tips for Healthy Eating on a Dancer’s Schedule
• Nutrition For Dancers

I welcome your thoughts!

Are you a health professional? We’d love your tips! (Note: spam comments are not accepted here, share relevant, useful information not just a link to your website.)

Are you a dancer? How do you maintain a healthy balance?

Are you a student, teacher, or parent? What are your biggest nutrition concerns?

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Oversplits – Overdoing It?

In my post my last post, Stretching Safely for Splits, I promised to go into more detail regarding my thoughts on oversplits. If you aren’t familiar, these are splits that go beyond 180 degrees (above the hips) and are usually achieved by stretching in a split with the legs supported by pillows, blocks, or chairs. I’ll reiterate that I don’t feel that there is anything wrong with working to achieve oversplits. There are healthy ways to go about striving for or achieving this level of flexibility. There are also a few things that I think students should consider before beginning a regimen that will get them there.

Are they necessary?

With all the emphasis on flexibility it may feel as though an oversplit is your only answer to achieving a beautiful grand jeté or pencheé. However, dance requires a moving, active flexibility. While oversplits (or splits in general) increase your range of motion, they do not improve strength and stability. Often when students are struggling to execute these moving splits, they may have sufficient flexibility but lack control. An oversplit is not much good to someone who is missing crucial pieces of the puzzle. Take even a portion of the time and energy directed toward stretching and flexibility and replace it with conscientious application of technique during class. Moving through your range of motion in practice is the best preparation for achieving the leaps and pencheé of your dreams. Without good placement, attention to line, stability, and power, all you’ve got with an oversplit is a parlor trick.

Are they worth it?

If anyone has conducted specific research on the joint/muscle health of gymnasts or others who specifically train and work oversplits, I’d love to hear your thoughts! Based on my understanding of joint health, there is greater potential for damage to joints, ligaments, and tendons when it comes to oversplits. This is especially true if you are “hanging” in the split from two raised surfaces – this is not a healthy way of achieving your goal and I cringe whenever I see it. It is extremely important that someone working toward oversplits spend equal (if not more) time on strengthening and stabilizing the hips and core of the body. If you ignore signals that you are pushing too hard or too far, you may be hindering or halting any current progress you’ve made in your flexibility. You may even be sacrificing joint stability and overall joint health, perhaps ending your career early or causing problems later in life… for a few measly degrees.

“Once a muscle has reached its absolute maximum length, attempting to stretch the muscle further only serves to stretch the ligaments and put undue stress upon the tendons (two things that you do not want to stretch). Ligaments will tear when stretched more than 6% of their normal length. Tendons are not even supposed to be able to lengthen. Even when stretched ligaments and tendons do not tear, loose joints and/or a decrease in the joint’s stability can occur (thus vastly increasing your risk of injury).” – runtheplanet.com

“When muscles are stretched beyond natural voluntary ranges of motion, the muscles and tendons are stretched unnaturally. Excessive stretching damages tissues and promotes inflammation” – Yang, Im, & Wang, 2005

Are they desirable?

In many ways an oversplit could be considered an asset. Remember though that most dancers aspire to more than just moving through a series of static positions (at least I hope they do). They aim to convey and communicate as well as wow or inspire. Choreographers have this same aim when they create dances and in most cases would prefer a dancer who can offer more than just incredible flexibility. Even audiences want more from their dancers – after the initial “wow” wears off, especially. So, I’ll repeat that an oversplit is not much good to someone who is missing crucial pieces of the puzzle like performance, strength, intelligence, artistry, technique. I’ll also mention that there are those, particularly in classical ballet, that find overextended leaps, arabesques, etc. downright incongruous with the aesthetics of the art form and dislike seeing these slip into the choreography. While removing limitations in range of motion can free the body for expression, it is important to show restraint and mindfulness in displaying this kind of freedom.

What Do You Think?

Do you like to see dancers utilizing this skill onstage?

How do you feel about dancers (recreational, pre-professional, or otherwise) training for oversplits?

Some folks utilize the power of gravity for oversplits. I’ve shared my view on this. What do you think? Is there a “right” way and a “wrong” way to stretch for oversplits?

This Dancer’s Response to World AIDS Day

Today, on World AIDS Day, people across the globe will raise HIV/AIDS awareness with events, discussions, and more. There are hundreds, maybe thousands of ways you can get involved in your own country or your own community. To mark the day, I’d like to highlight Dancers Responding to AIDS, a U.S.-based organization offering opportunities for dancers to make a difference in the lives of other dancers and performing artists, and invite you to support me in raising money to advance their efforts.

What Is Dancers Responding to AIDS?

Dancers Responding to AIDS (DRA) is a fundraising program of Broadway Cares/Equity Fights AIDS (BC/EFA). Founded in June 1991 by former Paul Taylor dancers Hernando Cortez and Denise Roberts Hurlin, DRA seeks to mobilize the dance community, increase awareness, and raise money to provide direct financial assistance and desperately needed services to dance professionals with HIV/AIDS. The funds raised go specifically to individuals in need and the organizations that serve them.

DRA raises these important funds by producing events and conducting audience appeals in New York City and beyond. Special projects include the annual Fire Island Dance Festival, Dance From the Heart and Dance Student Outreach Project (formerly DRA Studio of the Year), which enables thousands of young dancers to actively involve themselves in helping those living with HIV/AIDS.

DRA fundraising efforts support BC/EFA which annually awards nearly 500 AIDS and family service organizations through their National Grant Program, as well as supports various programs of The Actors Fund, including The AIDS Initiative. If you’d like to know more about the various programs DRA and BC/EFA support, visit Your Money At Work on the Broadway Cares website and explore the links to the left.

Get Involved!

World AIDS week kicks off with World AIDS Day and lasts through December 7, 2009.

If you are a studio who wants to help raise money for Dancers Responding to AIDS, consider following the lead of Mark Morris Dance Group, Broadway Dance Center and STEPS on Broadway – these dance institutions and their instructors will donate a percentage from all dance classes this week to the work of Dancers Responding to AIDS.

Consider ways you might join them in raising funds this week…

• Place a container at your sign in desk for loose change.
• Create a raffle, giving students the opportunity to win credit toward private lessons, recital fees, or scholarships.
• Make “Dancer Votes” for students to sell for $1. The dancer that collects the most votes wins a prize (a gift card or perhaps studio merchandise like a dance bag or jacket).

…and beyond!

• Audience appeals (pdf)
• Hold a Spaghetti Dinner or Pancake Breakfast prepared by dancers (invite people from the community and charge per person).
• Offer Valet Parking at your recital (get parents and friends involved).
• Collect gently used shoes and costumes for resale at a studio bazaar/market.
• Sell VIP or “Front Row” tickets at your next performance.
• Call DRA and locate AIDS organizations in your area and work together on some promotional or fundraising ideas.

For fundraising ideas visit the DRA website. For where to send checks, or other info you can also visit DRA on Facebook.

Take Action Now

FIRST — Read and take to heart these 5 ways you can Respect & Protect yourself and others to stop the spread of HIV and end HIV prejudice.

SECOND — Join me in responding to the needs of dancers living with HIV/AIDS and sponsor me as I try to raise $300 for Dancers Responding to AIDS as a member of the DRA Dream Team. It’s easy, visit my sponsor page, click Support Nichelle and donate! You can also join my team and help me reach my goal by collecting your own donations!

OR

Create your own Dream Team! Start your own studio Dream Team, set a goal, and begin right away!

Don’t Miss…

Alicia Keys performing LIVE on YouTube tonight!

If you are a fan of this dynamic performer, pull up a computer and check out her streaming concert. One Night. One Voice. One Life at a Time. 8pm E.S.T.

Not in the U.S.?

How will you mark World AIDS Day? Let us know in the comments for this post!

If you are unsure, please visit the World AIDS Day website or the World AIDS Campaign website for ideas, events, and charities in your region.

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Introducing the Iliopsoas

Ladies and Gentlemen, children of all ages!

It is my particular pleasure to introduce to you, the iliopsoas, a thrilling group of three muscles which are exquisitely fundamental to the function of the hip joint. As an indispensable stabilizer of the lumbar spine and pelvis, and the one and only muscle group that has within it a sufficient power to flex the hip joint and lift the leg above, with appropriate amazement, 90 degrees, it seems a gloriously gigantic understatement to call this muscle merely important. It is clear this wondrously complex muscle group not only deserves but demands your supremely scrupulous attention. I am outstandingly overjoyed to dazzle your eminently esteemed self with the following…

Okay, sorry to get all Barnum & Bailey on you. I promise the rest of this article won’t be nearly as dramatic.

Some of you, I would bet, have never even heard the term iliopsoas (ill-ee-oh-so-az) before. Meanwhile others of you have teachers who are devoted advocates for these miracle muscles but perhaps you still have questions. I’m going to try to answer some of the basic ones.

Why is the iliopsoas important?

1. The iliopsoas has a profound influence on alignment of the pelvis. Because of this it has a great affect on posture and coordination in dance. A dancer that moves smoothly and efficiently is utilizing the strength  and stability of their center or core, of which the iliopsoas is an essential component.
2. The iliopsoas is the primary hip flexor for the leg when it is above 90 degrees. The coveted “extension” of professional dancers is powered (in part) by these mighty muscles.
3. The iliopsoas can be a source of injury in dancers who repeatedly perform movements which flex (crease) the hip joint. Strains in the lower back, snapping hips, and leg pain are known outcomes to an imbalance of movement patterns which can be caused when a dancer compensates for a tight or weak iliopsoas.

Let’s get something straight, through. The muscles which make up the iliopsoas play an important role in a few crucial components of dance. While increasing your awareness, understanding, and proper use of these muscles can have enormous benefits, please note that the muscles of the hip, pelvis, spine and upper leg are complex. No single muscle group could possibly be the root of or solution to all of the issues that arise in these areas. With guidance from a teacher who has a firm grasp on the power and function of this muscle group, however, your increased awareness has the potential to lead to those wonderful “ah-ha” moments which can change your dancing.

What and Where is the Iliopsoas?

The iliopsoas is the only muscle (well, technically group of muscles) that attaches to the spine, pelvis, and femur (or, thigh). There are three muscles which make up the iliopsoas. The iliacus, the psoas major, and the psoas minor.

Though it has some involvement in the “lifting” of the pubic bone to correct alignment, the psoas minor has been found to be absent in a large percentage of people (a bi-product it seems of our more sedentary lifestyles). The major players are the psoas major and iliacus. Psoas major is attached to multiple points along the lower spine. It then meets up with the iliacus, which is attached to the illiac fossa (For reference, when you put your hands on your

“hips” you are placing them on the crest or upper rim of the ilium. The iliacus attaches to the inner, concave surface of this large, bony structure). The muscles then cross the front rim of the pelvis and the hip joint to attach to the lesser trochanter of the femur (thigh bone).

Lengthening and Strengtening

When standing, a person with a chronically short, tight iliopsoas will stand with hollowed or swayed arch to the back (which in turn limits turnout and causes other inbalances). Therefore a lenthened iliopsoas in important to alignment of the pelvis and health of the lower back.

Sometimes dancers are trained to engage muscles which are not necessary to hip flexion (lifting the leg) and this leads to a weak ilopsoas. Sometimes the iliopsoas is weak and stronger muscles take over to compensate for this weakness. Either way, practicing techniques that simultaneously strengthen and lengthen the iliopsoas are of benefit to dancers. In addition, making the most of the iliopsoas in your dancing will require visualization and awarenss of how this muscle functions.

How Can I Build Awareness?

The iliopsoas is a deep muscle, running very near the spine and beneath other major muscle groups. Therefore, awareness of the iliopsoas must come through visualization. You will not necessarily “feel” the muscles working and no single image will spark understanding in every dancer. Therefore it is extremely helpful to have a knowledgeable instructor that can guide you through this exploration.

First steps include locating the attachment points of the iliopsoas, visualizing the muscle that runs between these points, and analyzing how the muscle affects the bones and structures to which they are attached. Picture the muscle contracting from the center, moving the attachment points toward each other along the path of the muscle. How would this affect the leg? the spine? the pelvis? Now picture the muscle lengthening with the attachment points moving away. What are the affects?

As you move (in a deep plié, or as you lift or swing your leg), use your mind’s eye to transfer your knowledge to the moving body. Again, a teacher can help you discover and experience images that will help you to use the muscle with ease, fluidity, and power. These visual images may involve water, sand, strings, mechanics – anything that will help you engage the appropriate muscles and release the unnecessary ones.

Further Reading

		On Dance Advantage see also: Lifting the Leg “From Underneath” and Other Impossible Feats

I won’t pretend to be an expert on anatomy or kinesiology. College classes, books, resources, and experiences have shaped my knowledge of the subject. I welcome and encourage the sharing of your own experiences and ideas below in the comments.

Baby on Board — Teaching While Pregnant

Almost three years ago, when I first realized I was pregnant, many questions ran through my head. Among them, “How will pregnancy affect my dancing and teaching?” I wondered about modifications I’d have to make as I moved. I worried that aspects of the pregnancy (like morning sickness) might interfere with my duties in the classroom. I hoped that I’d be able to keep up with my rigorous schedule. And, like all moms, I wanted to provide a secure and safe environment for my child so that he or she would have the best chance for healthy development.

And, like many young moms, I turned to the internet (and to books… lots and lots of books) for the answers! Here is what these resources, others (like my doctor), and my experiences taught me. I hope, if you currently have the same questions and concerns that it will be a help to you!

Will I have to stop dancing or teaching?

Though you may be confronted with a few naysayers or complete strangers eager to tell you the horrors experienced by their friend’s sister’s cousin’s daughter’s dance teacher, most doctors will tell you that if you are experiencing a healthy, normal pregnancy, you should be able to safely continue doing what you were doing prior to conception. The key is to listen and respond to your body’s signals, communicate the requirements of your work to your doctor, discuss any problems or issues that arise, and be sensible, erring on the side of caution when it comes to possible dangers (like turning, partnering, jumping, etc). Of course, it helps to know what the potential risks and concerns are so that you can avoid them. This Q&A response from BabyCenter.com offers a brief overview of some of the changes your body goes through in pregnancy.

These are some simple modifications you can make during dance class that will reduce the risk of injury to you and your baby.

• Don’t push yourself to exhaustion or overexertion. Use this time to improve your verbal communication skills when it comes to teaching.
• Mark or modify your jumps.
• Avoid high-speed or quick-changing movement as it will become easier to pull or injure muscles and ligaments as the pregnancy progresses.
• Avoid situations in which you risk getting bumped into or in which you might fall (turning, pointe work, partnering, and contact work are potentially risky).
• Drink lots of water and carry snacks with you (if you don’t already).
• It’s a good idea not to spend a lot of time on your back, particularly later in pregnancy.
• Avoid positions that compress the abdomen.
• Avoid inverted positions (like handstands).
• Be prepared to need a hand occasionally – this may be in the form of a student assistant, a substitute teacher, a willing parent, or other family members.

Further reading:

1. Two’s Company — Dance Teacher Magazine
2. Pregnancy Tips — Dancing Smart
3. The Pregnant Dancer — The Examiner
4. Dancing Pregnant — The Dance Primer

And if you’re contemplating starting a dance class for pregnant women, read Dancing for Two from Dancer Universe.

My experience

I became pregnant in the fall and continued to teach through recital performances in the spring, by which time I had entered the beginning of my third trimester. I continued to do mostly everything I had done before I became pregnant. I got up and down off the floor with my 3 and 4-year-olds. I demonstrated exercises for my older classes (though later in the pregnancy I did a lot more indicating than full-out demonstrating). I enjoyed sweating it out with my adult jazz classes, though I did find that I became short of breath more easily. I continued with small jumps (occasional, or non-repetitive jumps that is) for a while but easily recognized when I had to give that up. I did less turning because eventually I sensed my balance was not in the same place I’d left it!

My morning sickness was more like an all day nauseous feeling, during which I had no appetite. But it lasted only about six weeks (which of course seemed eternal at the time). This aspect of pregnancy (and many others) is different for everyone. In fact, you will find your own ways to deal with the discomforts of pregnancy and you will likely find that the people around you (other teachers, studio owners, parents, and your students) are immensely forgiving. Rarely will anyone fault you for those moments when you need to run to the restroom, when you need to sit down, or even if circumstances beyond your control sideline you for a while.

Overall, my pregnancy was an easy one. Teaching and dancing, I believe, helped with this. It kept me mobile and relieved the soreness and stiffness that sleeping in the same position all night caused. My first trimester was tiring, during my second trimester I had tons of energy though some things were more challenging because of my changing shape, and during my third I was more annoyed than anything as my ankles swelled like water balloons (didn’t they know I had three recital weekends to get through?). I was HUGE in my final eight weeks of pregnancy (my son was nine-and-a-half pounds… yes, you read that correctly) and I was spared teaching during that time by sheer coincidence.

Though some days it took extra effort to feel motivated, though sometimes I felt uncomfortable or tired, though occasionally dancing was the last thing I wanted to do, I was more often than not excited and happy to experience the many changes and sensations that pregnancy brings while continuing to dance. My tired, swollen feet were a reason to treat myself to a soothing bath. My round, growing belly was affectionately patted and kissed by my youngest students who seemed as excited as I was about the baby to come. And I got to share with my unborn son my sense and experience of music, motion, and rhythm on a daily basis.

Have you taught through pregnancy?

Share your experiences to help prepare other expectant dancing moms.

Can you offer other health tips?

What about teaching soon after delivery?

(I have no personal experience with this… that’s how this blog came to be!)

Are you expecting? Feel free to ask questions!

Guest Post: Keeping on Your Toes — Preventing & Soothing Aches, Pains, and Muscle Strains

Fitness and nutrition expert, Nancy Welker, has been kind enough make another guest appearance on Dance Advantage to answer some frequently asked questions about preventing and soothing muscle soreness following a dance class or workout. She talked to us last time about dancer “feetness,” taking care of overworked feet.

Have another fitness or health question? Submit a question in the comments below this post or on Nancy’s wall at Dance Advantage Interactive. Your questions and Nancy’s answers will be featured on her DA Interactive blog and on her website.

What is the best way to prevent pain after strenuous activity?

“No pain – no gain” is only true to an extent. Yes, if you’re making a comeback or a major change in your routine you will feel the effects until your body builds muscle strength and your flexibility and range of motion increases to the point that your body responds consistently and much more comfortably. Until then, there are ways to minimize and even prevent the day-after soreness and stiffness.

Proper hydration is the first point to remember. Even if you are among the 25% of Americans who actually do drink your 8 glasses per day, when making extra demands on your body you’ll need to increase that by 2 or 3 glasses to ensure you’re getting the proper amount of hydration. This is perhaps the overall best, and easiest, way to help your body get past the initial shock of using muscles it hasn’t used as much or as hard as you are now using them.

So much water is lost through sweating, and this is possibly the chief cause for muscle pain, and even cramps, that can make going in for that second or third session that week a real exercise in willpower.

It’s not as simple as “drying out” your body. Loss of fluid takes so much with it when it goes. Vital minerals – potassium and sodium to name two important ones – are lost, and with them go important nutrients your muscles rely on to bend, stretch and withstand impact.

Making 16 or 24 ounces of your water intake enhanced or vitamin fortified water is a great way to not only increase your fluids, but include additional amounts of minerals and vitamins your body will need to give you the performance level you want. Use care though, and read the labels. Vitamin waters can contain quite a few calories, and those that are low-cal can contain artificial sweeteners that are simply not good for you. Look for products containing “erythritol” which is a sugar substitute obtained from plants that is less likely to cause stomach upset and headaches, and thankfully has no after taste.

What should I do when it does hurt?

Your body hurts because of two main reasons. Strain and tension. These should be treated both physically and mentally.

Physically

Soaking in a warm tub with Epsom salt feels heavenly to a sore, overworked body. Don’t put yourself through further shock by getting into a tub of water that’s too hot. First, do an “elbow dip”. Yes, that’s what your mom (and maybe you) have done before giving a baby a bath. The area around your elbow, just below it to be exact, is very sensitive to heat and makes a great natural thermometer. If it feels comfortable to the elbow area, you’re ready to hop in. Stay in for at least 20 minutes, but more than 30 is probably too long.

Also, don’t mix in bubble bath or regular bath foam. Stay with either Epsom salt, eucalyptus salts, or if you have nothing else handy pour in a good amount of witch hazel or even a cup or two of oatmeal. (If you use oatmeal for bathing, use the quick cooking type and let it sit in the water for 5 or 10 minutes before you get in)

Don’t forget to cool off after.

This is important. Ever take a first aid class? Application of heat first, followed by cold compresses is the best way to treat strained muscles. Of course, you don’t want to pour ice water on yourself. At this point, using a good amount of witch hazel will feel like a godsend to your tired, achy body. If not available, you can use aloe vera gel, which is good as well, but can leave you feeling kind of greasy. You can combat that though by wrapping yourself in your favorite bathrobe or comfy sweats.

Mentally

Now that you’ve soaked and soothed your body, it’s time to unwind. Make yourself a cup of herbal tea, and find a quiet spot to listen to some soft music, or even better, a meditation CD. No quiet spots in your house? A good pair of headphones can change that, and unless you’re using noise-reduction types, you can still hear what’s going on in the house – especially good if you have children to keep an ear out for.

Learn to form a mental picture of relaxing every muscle in your body, starting with your head and working right down to your toes. Remember that an athlete’s game is played mainly in her head, so you’re applying that golden rule here as well; using it now to loosen up the tension and give yourself needed rest.

Not only will the mental winding-down help to ease any pain you may feel, but it can also help you to sleep better after a physically demanding day. Sleep is nature’s secret weapon when it comes to healing the body, and that’s just what you need when you’re feeling stress and strain of any kind.

Follow this simple routine on a regular basis and you’ll notice that it really can make a difference. And be creative. Try exploring mental exercises such as visualization and self-hypnosis. A bit out of the norm? Yes. But since they are both safe and easy to do, both are worth looking into for overall health – mind and body.

Nancy Welker is a Master Trainer with five additional certifications in specialized fitness modalities, a degree in Fitness and Nutrition, and formal training in Latin Ballroom dance.   CEO of Nutrabeautiful, Inc., Nancy publishes educational information for women regarding health, beauty, nutrition and positive self-image through a newsletter, “NutraBeauty News.”
For more information go to: www.nutrabeautiful.com

The contents of the Dance Advantage website, such as text, graphics, and other material (“Content”) located at danceadvantage.net and its subdomains or aliases (“Website”) are for informational purposes only. The Content is not intended as a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of Content found on the Website. Reliance on any information provided by Nichelle Strzepek, danceadvantage.net, others appearing on the Website at the invitation of Nichelle Strzepek, or other visitors to the Website is solely at your own risk.

When Should My Child See A Doctor for Dance Injuries?

Most injuries in dance don’t happen suddenly. Instead, students often suffer from chronic overuse injuries. Some minor impairments can be treated without visiting a physician. Too often, though, smaller injuries become more severe because proper care is not administered early or because dancers continue self-care despite warning signs that more specialized care may be necessary.

Parents and teachers of children and teens want to know, “What are the warning signs that a dance student should see a doctor?”

1.  Here is what you need to know…

Pain = Cause for Concern

Pain is our body’s way of telling us something is wrong. Even the youngest children (3 or 4 years of age) can tell us where and when something hurts. Unfortunately, sometimes dancers learn very early to overlook or ignore pain. Teachers and parents can create an environment in which students develop a mindset to recognize and respect their body’s warning signals. There is no gain in ignoring pain.

2.  Here is the answer to the question…

If the pain, discomfort, or problem persists beyond 2-4 days, your child should see a doctor.

Acute Injuries

These are usually obvious because they come about as a result of an incident. Landing wrong from a jump. Falling from a lift. Slipping while crossing the stage. Severe injuries like broken bones obviously need immediate attention and a visit to the doctor. For most common ailments…

1. First aid suggests the R.I.C.E method (rest, ice, compression, and elevation) for strains, sprains, swelling, etc.
2. In addition, staying hydrated and eating well promotes healing.
3. See #2 above

More about treating common dance injuries

Overuse/Chronic injuries

Overuse or chronic injuries are sometimes triggered by an event that is allowed to persist without proper rest or rehabilitation. However, often they are caused or aggravated by other circumstances (this is a great list, adapted from this one about kids in sports):

• growth spurts
• imbalance between strength and flexibility
• inadequate warm-up
• excessive activity (for example, increased intensity, duration, or frequency of training)
• improper technique
• unsuitable floors

Signals of Chronic Pain

Deborah Vogel (thebodyseries.com) offers these four signals of chronic pain, as well as an excellent explanation of  how dance injuries start in small ways, in an article about a hamstring/sciatic injury. I highly recommend you read her words for yourself.

1. Pain that gets progressively worse during working out.
2. Pain that comes after you work out and the next day comes back after less working.
3. Pain that is accompanied by a certain movement (e.g. arabesque).
4. No real sense of “pain” but a definite restriction of movement.

It is normal to have temporary muscle soreness after a challenging class or when working in a new way. Anything that persists, particularly in the ways mentioned above, should be discussed with a physician or dance/athelete specialist. This should be done sooner, rather than later (see #2 above).

A Note on Anti-Inflammatory Drugs

These are often overused in the dance community. Sometimes a doctor will recommend them and they can help bring down swelling. However, they are misused when taken to “get through a class” or otherwise mask pain (see #1 at the top of this post).

Reinjury

Dancers often re-injure themselves when they return too quickly to activity. Temporary muscle soreness can sometimes improve with a return to class. However, if moving makes it feel worse, the body may need more rehabilitation time and/or medical attention.

After and injury, always ease back into activity. It is better to be safe than sorry. Dancers don’t like to hear this when they are eager to get back or feel pressure to return to class but, remind them that temporary setbacks are just that – temporary, and not worth permanently injuring oneself.

“An ounce of prevention is worth a pound of cure.”

Prevention

Of course, preventing injury in the first place is ideal. Although sometimes this is not entirely possible there is a lot a parents can do to keep their dance students injury-free.

Find a studio that is committed to safety

• What is your studio’s philosophy?
• Is there proper flooring (i.e. – something sprung or with some “give”)?

Find a studio that is committed to quality instruction

• Do the students spend a reasonable portion of their class warming-up (not stretching but individual body-part and full-body exercises that encourage blood flow)?
• Are students encouraged to master foundational basics before moving on?
• Do students receive individual attention and feedback from their teachers?
• Etc… (see this series for more on quality instruction)

Encourage dancers to stay hydrated

• How much water is really necessary is debated, however, there are many active dancers that probably do not drink enough water. Here are some suggestions to improve water intake.

Encourage healthy, balanced nutrition

• I know this can be a tough one for families and kids on the go but it is so important! Here are some good pointers on healthy eating from kidshealth.org. Another great resource: nourishinteractive.com

Some other things you can do

• Encourage rest and proper sleep habits
• Encourage a positive outlook
• Remove the stress and pressure to “work through” or “push on” through injury
• Try cross-training with other activities (not to load extra onto already tired kids but to promote balance in the body; you might even speak to your child’s teacher or studio owner about alternatives within the studio)

Check Out These Related Articles!!

Learning How to Gauge Injuries Can Prevent You From Being Sidelined

This is an excellent article from Dance Spirit magazine. It offers easy guidelines about when to sit out and when to see a doctor.

Talking to Your Doctor About Injuries

Another one from Dance Spirit, this article lays out exactly what doctor’s need to know from dancers. A dancer’s “normal” may be different than a non-dancer due to the type of training dancers receive. Physicians need to know what you were capable of before your injury. This article has a lot of great information and stresses that dancers should not minimize their pain, as is their tendency.

Breaking Tiny Foot Bones

Stress fracture signs and treatment on Ballet Shoes and Pointe Shoes Blog.

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